Fahrenheit 451 by Ray Bradbury
This Friday, through live simulcast (isn't simulcast always live though?) Ray Bradbury will be at the Lousac Library to discuss his book Fahrenheit 451 for The Big Read. I'm glad I already have a copy as there aren't many left on the bookstore shelves. As an homage (you're not one of those horrible people who say it oh maj are you? You probably say her b rather than erb too don't you? I'm keeping my eye on you pal) to his appearance I'm dedicating this BBW to this most famous of his books.
I first got ahold of this book in high school, a teacher had us read that, Animal Farm, Brave New World (the book where I learned the word ignoble), Anthem (I hate you Ayn Rand), and 1984. It was a bit of an overload to a seventeen year old. Perhaps if she had spaced them out I would have liked 1984, but it just seemed to drag and drag and drag, by the end I wanted Winston dead just so the book would end. Brave New World though was great. Sorry, I digress. By now you all know how I feel about the burning of books and so this story really took hold in my mind. I could see this actually happening, I could see a couple of my fellow students chasing down a person just to run them over for the fun of the thing. It didn't really seem like the far distant future to me and it frightened me. It really scared the crap out of me. I didn't want to live in a future like that, and I swore that I wouldn't let it happen. It's always stayed with me in the back of my mind. It's perhaps due to this book that my loathing for anything that quashes the freedom of speech is so pronounced, but more on that later.
A Bit of History
Bradbury wrote the book in 1951 orginally as a novella in the magazine Galaxy Science Fiction. It was published as a book in 1953. There has been at least one movie and several radio dramatizations made of it. The book concerns itself with what Bradbury calls the "thought-destroying force" of censorship aka the book burnings in Nazi Germany and Stalin's suppression of authors and books in the Soviet Union. What is most ironic about this book is that unbeknowst to Bradbury, his editor released a censored version of the book in 1967. This version eliminated the words "damn" and "hell". Bradbury put a stop to that and later versions of the book include a coda where he dicusses his views of censorship, even well meant censorship.
Banning of the Book
When the book was released in 1953 the United States was clenched in the thrall of Josesph McCarthy, or as I like to call him Mr. Grouchy Pants. Anyway, Mr. Pants was at the helm of a huge hunt for anyone who might be a Communist. He couldn't stand communists, they killed his father (all of them, all at the same time, killed his father)*. He convinced other people to hate the Communists too, and they went along because it was before MTV and they didn't have Bevis and Butthead to watch in order to kill time. Plus, Mensa had rejected their applications and their egos were still smarting from this. So all of these people with nothing to do, and bruised wittle egos set their sights on Terrorists er I mean Communists and they had all of these hearings at Congress because they heard from a guy called Arthur Miller ** that this was the thing to do to people who your cousin's friend's boyfriend's sister said might be a Communist. Bradbury's book (an expanded version of his original) was partially in response to the censorship brought on by Mr. Pants and his gang of Mensa rejects.
** Just to let you know in case you didn't Arthur Miller's book The Crucible was written in response to the McCarthy trials. Oh, and Communists didn't kill J.M's father (thought that I'd clear that up).
Bradbury's book would be banned all over the United States, in fact, it is still banned in many high schools due to language (yeah, like your 17 year old hasn't heard the world damn before).
Although it's legnthy I want to post Bradbury's coda:
About two years ago, a letter arrived from a solemn young Vassar lady telling me how much she enjoyed reading my experiment in space mythology, The Martian Chronicles.
But, she added, wouldn't it be a good idea, this late in time, to rewrite the book inserting more women's characters and roles?
A few years before that I got a certain amount of mail concerning the same Martian book complaining that the blacks in the book were Uncle Toms and why didn't I "do them over"?
Along about then came a note from a Southern white suggesting that I was prejudiced in favor of the blacks and the entire storyx` should be dropped.
Two weeks ago my mount of mail delivered forth a pip-squeak mouse of a letter from a well-known publishing house that wanted to reprint my story "The Fog Horn" in a high school reader.
In my story, I had described a lighthouse as having, late at night, an illumination coming from it that was a "God-Light." Looking up at it from the viewpoint of any sea-creature one would have felt that one was in "the Presence."
The editors had deleted "God-Light" and "in the Presence."
Some five years back, the editors of yet another anthology for school readers put together a volume with some 400 (count 'em) short stories in it. How do you cram 400 short stories by Twain, Irving, Poe, Maupassant and Bierce into one book?
Simplicity itself. Skin, debone, demarrow, scarify, melt, render down and destroy. Every adjective that counted, every verb that moved, every metaphor that weighed more than a mosquito - out! Every simile that would have made a sub-moron's mouth twitch - gone! Any aside that explained the two-bit philosophy of a first-rate writer - lost!
Every story, slenderized, starved, blue-penciled, leeched and bled white, resembled every other story. Twain read like Poe read like Shakespeare read like Doestoevsky read like - in the finale - Edgar Guest. Every word of more than three syllables had been razored. Every image that demanded so much as one instant's attention - shot dead.
Do you begin to get the damned and incredible picture? How did I react to all of the above?
By "firing" the whole lot.
By sending rejection slips to each and every one.
By ticketing the assembly of idiots to the far reaches of hell.
The point is obvious. There is more than one way to burn a book. And the world is full of people running about with lit matches. Every minority, be it Baptist / Unitarian, Irish / Italian / Octogenarian / Zen Buddhist, Zionist / Seventh-day Adventist, Women's Lib / Republican, Mattachine / FourSquareGospel feels it has the will, the right, the duty to douse the kerosene, light the fuse. Every dimwit editor who sees himself as the source of all dreary blanc-mange plain porridge unleavened literature, licks his guillotine and eyes the neck of any author who dares to speak above a whisper or write above a nursery rhyme.
Fire-Captain Beatty, in my novel Fahrenheit 451, described how the books were burned first by minorities, each ripping a page or a paragraph from this book, then that, until the day came when the books were empty and the minds shut and the libraries closed forever.
"Shut the door, they're coming through the window, shut the window, they're coming through the door," are the words to an old song. The fit my lifestyle with newly arriving butchers/censors every month. Only six weeks ago, I discovered that, over the years, some cubby-hole editors at Ballantine Books, fearful of contaminating the young, had, bit by bit, censored some 75 separate sections from the novel. Students, reading the novel which, after all, deals with censorship and book-burning in the future, wrote to tell me of this exquisite irony. Judy Del Rey, one of the new Ballantine editors, is having the entire book reset and republished this summer with all the damns and hells back in place.
A final test for old Job II here: I sent a play, Leviathan 99, off to a university theater a month ago. My play is based on the "Moby Dick" mythology, dedicated to Melville, and concerns a rocket crew and a blind space captain who venture forth to encounter a Great White Comet and destroy the destroyer. My drama premieres as an opera in Paris this autumn.
But, for now, the university wrote back that they hardly dared to my play - it had no women in it! And the ERA ladies on campus would descend with ballbats if the drama department even tried.
Grinding my bicuspids into powder, I suggested that would mean, from now on, no more productions of Boys in the Band (no women), or The Women (no men). Or, counting heads, male and female, a good lot of Shakespeare that would never be seen again, especially if you count lines and find that all the good stuff went to the males!
I wrote back maybe they should do my play one week, and The Women the next. They probably thought I was joking, and I'm not sure that I wasn't.
For it is a mad world and it will get madder if we allow the minorities, be they dwarf or giant, orangutan or dolphin, nuclear-head or water-conversationalist, pro-computerologist or Neo-Luddite, simpleton or sage, to interfere with aesthetics. The real word is the playing ground for each and every group, to make or unmake laws. But the tip of the nose of my book or stories or poems is where their rights end and my territorial imperatives begin, run and rule. If Mormons do not like my plays, let them write their own. If the Irish hate my Dublin stories, let them rent typewriters. If teachers and grammar school editors find my jawbreaker sentences shatter their mushmilk teeth, let them eat stale cake dunked in weak tea of their own ungodly manufacture. If the Chicano intellectuals wish to re-cut my "Wonderful Ice Cream Suit" so it shapes "Zoot," may the belt unravel and the pants fall.
For, let's face it, digression is the soul of wit. Take philosophic asides away from Dante, Milton or Hamlet's father's ghost and what stays is dry bones. Laurence Sterne said it once: Digressions, incontestably, are the sunshine, the life, the soul of reading! Take them out and one cold eternal winter would reign in every page. Restore them to the writer - he steps forth like a bridegroom, bids them all-hail, brings in variety and forbids the appetite to fail.
In sum, do not insult me with the beheadings, finger-choppings or the lung-deflations you plan for my works. I need my head to shake or nod, my hand to wave or make into a fist, my lungs to shout or whisper with. I will not go gently onto a shelf, degutted, to become a non-book.
All you umpires, back to the bleachers. Referees, hit the showers. It's my game. I pitch, I hit, I catch. I run the bases. At sunset I've won or lost. At sunrise, I'm going out again, giving it the old try.
And no one can help me. Not even you."
-- Ray Bradbury